Chris Milk Quotes

Your head is a stereo input. The density and cartilage of your ears embed certain extra characteristics into stereo sound sources. Your brain decodes that and gives you sound plus conscious directions.

I didn't want to be a storyteller when I grew up; I wanted to be stuntman.

Music videos are very concrete and rigid. They don't allow for emotional interaction.

I prefer making stuff to talking about how I made the stuff.

My premise is that there's something hardwired into our DNA, that we as a species came and evolved from caves and clans and tribes, and therefore, we as a species care more about the things that are local to us than we care about the things that are 'over there' from us.

If there's a new HBO series, you know there's going to be a certain level of storytelling mastery - that you can trust it.

What we want Vrse to be is a collection of the best in class - the greatest cinematic VR that you can see, and a place that you can trust.

Journalism is about bringing people to an event or something that they couldn't attend.

When the protagonist breaks the fourth wall by looking at the camera in a movie, it's generally been used for comedic purposes, rather than feeling like they're looking into your soul.

For some reason, humans have this funny thing about where we came from - it always has far more emotional weight than where we are.

My real motivation came from my desire for music videos to have the same equal soul-touching emotional resonance that straight music does.

Every digital video player - RealPlayer, Windows Media Player, Vevo, Hulu, YouTube - all of them had different ways of getting you the video, but it was still always the same series of rectangles. The format never changed.

It's weird: you do a TED talk on something, and people think that you suddenly have a lot of answers around the topic.

Film is this incredible medium that allows us to feel empathy for people that are very different than us and worlds completely foreign from our own.

With Street View, you're curating a data set capable of incredible emotional resonance for the person interacting with it because everyone grew up somewhere. And if your house is in this dataset, that's going to provide some emotional context for you.

So much of journalism is conveying a place and time that existed, to someone at a later date: giving a person the context and trying to make them feel as informed as if they were actually there.

As a species, the look of another of our species into our eyes has a great power. It can mean a lot of different things: aggression, love.

It connects humans to other humans in a profound way that I've never seen before in any other form of media. And it can change people's perception of each other. And that's how I think virtual reality has the potential to actually change the world.

When you stand in a traditional audience, you have a wall of amplified sound coming at you from one direction. Everyone's familiar with that.

In virtual reality, it's more about capturing and creating worlds that people are inhabiting. You really are a creator in the way the audience lives within the world that you are building.

With virtual reality, I'm not interested in the novelty factor. I'm interested in the foundations for a medium that could be more powerful than cinema, than theatre, than literature, than any other medium we've had before to connect one human being to another.

Music is a great catalyst for emotion because it gets to your core.

As a filmmaker, you are constantly having the discussion with your team about whether something is "relatable".

I want to figure out what comes after cinema as the gold standard for storytelling.

In virtual reality, we're placing the viewer inside a moment or a story ... made possible by sound and visual technology that's actually tricking the brain into believing it's somewhere else.

I think there's a little bit of a danger of a hype machine that puts forth a whole bunch of experiences that aren't great, and then a whole bunch of audience comes and don't have great experiences.

When people ask whether virtual reality will be a real thing or just the next 3D, what I always say is, 'Take a headset, walk outside, and the next person you meet, put it on them and see what the reaction is.'

As entertainment and storytelling move in the direction of more immersive environments, binaural sound will begin to play a larger and larger role in those experiences.

I didn't realize how slow my four-year-old MacBook was until the web team wanted to start using it as the benchmark for a slow computer experience.

For a long time, I believed that a great piece of music on its own could do more to stir the soul than any other single art form.

All these experiments I've done over the years with technology have been asking whether I can tell stories that affect humans in a deeper way than I could without the technology.

I love technology. I love trying to tell stories in new ways using technology.

A bad version of a virtual reality video makes you vomit in your headset in under 10 seconds. It's much easier to make bad VR than it is to make good VR.

Virtual reality is the 'ultimate empathy machine.' These experiences are more than documentaries. They're opportunities to walk a mile in someone else's shoes.

Web projects aren't done until I'm happy, or someone changes the password to the server. A formal release does not stop me from working on it more.

It's easy to lose the humanity when you start showcasing tech.

Video games as a storytelling medium are, from a mathematical standpoint, a branching narrative. You start at one place, you can go in multiple different directions, and there's a multitude of different endings.